But, is the Bar suit and the sheer skirt prepared to make the jump?
The opening look of the Dior show would have you believe that Maria Grazia Chiuri has embraced the metaverse and is readying her designs as possible NFTs. The first model—real, not digital—of this season’s show emerges into a dark runway, her material bodysuit lit with tracings of green-hued electroluminescence that is evocative of the colour of the title design of the 1999 film, The Matrix. The squiggly lines meander on both sides of the body and limbs, forming a symmetrical pattern. When the light comes on, the black bodysuit could be mistaken for the motion capture (or MoCap) suit actors wear to record their real-life movements and so that their actions could be digitally applied to a 3D character. But Dior’s feeble dalliance with the special effects is not quite the entry into the metaverse that we thought it might have been.
That out-of-place model merely prefaces the tech used in some of the clothes. This suggestion of technological advancement is not a rupture in Dior’s way forward or wrapping itself in digital legitimacy, just a visual gimmick. According to the brand’s press release, a tie-up with the Italian tech start-up D-Air lab, known for its D-air, described by the company as “a sophisticated personal protective airbag technology”, allows Ms Chiuri to re-invent, for example, the house’s Bar jacket. It is now given the external D-Air lab contraption that, we’re told, “transforms the structure of the original model (the jacket) into a system that regulates the body’s humidity and warms it up if necessary”. Does that not sound like Uniqlo’s Heattech (or Airism), minus the gadgetry? But add the tech and the garment becomes, as Dior states, “an ultramodern celebration of self-assertion”.
Take away the technological-innovation-as-feminist-predication, the clothes enjoy the usual delicate and traditional femininity that Ms Chiuri is partial to. All her favourite items are there, augmenting the waisted-and-flare that is de rigueur to the Dior of her tenure. Is it a wonder that many do say Ms Chiuri has no more than one silhouette in her repertoire? Sure, there is some branching off. Skirts are now asymmetrical, and those half accordion-pleated versions have a distinct whiff of Sacai’s. If you look closely at the clothes this season, there is something even more disconcerting: strange fit. The D-Air lab devices add bulk to areas of the body that normally are without. Puffers wrap the body to look like poorly shaped dumplings. Oversized trucker jackets hang on shoulders listlessly. Corsets, although emphasise the waist, do no follow the contours of the bodice and hips. Leggings have oddly loose crotches. Perhaps more baffling is the wear-it-like-a-blouse fit of one jacket—the common reaction, “why is there so much excess fabric on the chest?” We don’t know.
The set of the show is an installation, The Next Era, by Italian artist Mariella Bettineschi (reported to be a feminist), who has placed black and white portraits of “female figures from the History of Painting”, as per Dior’s description, on the four walls of the show venue, but now, each woman eerily has two pair of eyes (“All the better to see with”, to quote the wolf in Little Red Riding Hood?). Ms Chiuri named the collection after this exhibition, but we can’t be certain if her “next era” refers to the one after the pandemic or the Russo-Ukrainian war. With a space-age-y soundtrack that includes 2018’s Linnaea by the British electronic musician Pariah, you’d think that Dior is being topical, if not ironic. If you wonder how that would bode for the brand, consider another track: American post-rock/electronica trio Son Lux’s Lost it to Trying!
Screen grab (top): Dior. Photos: gorunway.com
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